1,721,012 research outputs found
On social media photography: memorials to Black Lives Matter in Kris Graves’s "A Bleak Reality"
No full textThis article looks at the photography of Kris Graves and the circulation of the artist’s images on his social media accounts as a way of promoting social progress and racial justice, with a focus on his 2016 A Bleak Reality photoseries for Vanity Fair. The series consists of eight images that address the haunting specters of police brutality against eight African American male citizens who lost their lives at the hands of the state. Looking at Instagram, I posit a threefold claim about the social media photograph. First, I argue against the association of the social photo with the everyday. I examine a photoseries that initially participated in an economy of art but then migrated across a network of social relations in order to enhance its visibility—its dissemination ushering in the social life of the photograph that undergirds Black Lives Matter. Second, I suggest that the affective residues of Instagram’s content linger in an indexical trace that transcends the transplatform network’s digitally composited, modified, duplicated, and distributed images. This dual focus illuminates how social media function, on the one hand, as a technology of race while they allow Graves, on the other hand, to document instances of police brutality against African Americans. Third, in so doing, this article locates A Bleak Reality within a genealogy of civic media in order to explore how the co-optation of photography’s reproductive affordances by African American photographers, artists, scholars, intellectuals, and abolitionists has allowed them to construct a counter-archive of Black cultural production around historical movements for racial justice
Plus ça devient vieux, Plus ça devient bête: the European bourgeoisie in Michael Haneke’s 'Amour'
No full text[Excerpt from introductory paragraph] Austrian-German filmmaker Michael Haneke is often considered the most “European” of directors. Born in Munich, raised and educated in Vienna, and working in both of those countries as well as France (and the United States), Haneke is the first filmmaker who consistently transcends the ever-present boundaries between European nation states. Amour, which won Haneke his second Palme d’Orat the Cannes Film Festival this year, is no exception. ..
: Presidential Masculinity and the American Response to Benito Mussolini
No full textThe article explores how hegemonic masculinity forged discourses of modern statesmanship in the United States and Italy in the first three decades of the twentieth century. It unpacks the ‘presidential masculinity’ of Theodore Roosevelt and Woodrow Wilson and compares these gendered performances of political leadership in the United States to Benito Mussolini's Fascist rule in Italy during the 1920s. In doing so, this article contends that the manliness of these three modern leaders rested on a contrasting of pairs: if Roosevelt embodied the hegemonic ideal of the ‘frontiersman-as-president’, Wilson personified its ‘unmanly’, bourgeois-liberal countertype and thereby engendered the initially hospitable view of Mussolini's Fascist masculinity in the United States during the Jazz Age. The article covers the publications in The Atlantic Monthly to reveal how the American disillusion with Wilson's liberal internationalism transformed the Duce into a Fascist surrogate for Roosevelt. In a decade of political, economic and social upheaval, the transatlantic ‘public relations state’ in both the United States and Italy discursively positioned Mussolini as the personification of the masculine ideals of acumen, willpower and virility for the American public; a ‘Doctor-Dictator’ who, akin to Roosevelt, became a symbol of modern manliness that signified stability, progress and reform. In the process, the Duce's Fascist manhood shaped hegemonic ideals of statesmanship across the Atlantic while hinting at the paltry support for the liberal democracies of the West
Italy in Early American Cinema: race, landscape, and the picturesque
No full textA review of 'Italy in Early American Cinema: race, landscape, and the picturesque' by Giorgio Bertellini published by Indiana University Press in 2010. No abstract is available
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